You grew up in Peru, I guess from your work Zapallal|Yurinaki that your childhood must have great influence on your photography style, could you share with me?

你在秘魯長大，你的作品薩帕亞爾與尤利納奇讓我感覺你的童年一定對你的攝影風格產生了很大影響，能和我們說說嗎？

When I was a child I loved to tell stories. Sometimes, these stories only happened in my imagination...I remember how my mother got worried about me telling lies. That might be something pretty natural in a child, but looking back on that I realized that what I do nowadays with photography is pretty similar, of course I don't think I'm telling lies with my images - don't get me wrong, but with time I've learned how to channel my imagination in order to create a visual narrative that is based on actual social and political issues. I believe, that another major influence has been Latin American literature, I remember my school times when we had to read poems of Cesar Vallejo, 100 years of solitude by Gabriel Garcia Marquez (several times), Pablo Neruda, Jose Maria Arguedas, Mario Vargas Llosa and Jorge Luis Borges.

當我還是個小孩子的時候我就很喜歡講故事，這里面有些故事完全出于我的想象。我還記得當時我媽媽非常擔心，因為她覺得我這是在說謊。我想這是每個小孩子都會有的天性，但現在回首我發現我今天所做的攝影和當初有很多相似之處。當然我不覺得我在用鏡頭說謊，不要誤會我，我只是在歲月中懂得了如何運用自己的想象力，通過影像來反映實際的社會和政治問題。我相信拉丁美洲文學對我也有同樣重大的影響，上學的時候我們要求誦讀巴列霍(Cesar Vallejo,)的詩，馬爾克斯(Gabriel Garcia Marquez)的百年孤獨(讀過幾遍)，聶魯達(Pablo Neruda)，阿格達斯(Jose Maria Arguedas)，巴爾加斯•略薩(Mario Vargas Llosa)和博爾赫斯(Jorge Luis Borges)的作品。

I was always a visual person and that's why I didn't find the idea of reading these books so attractive back then. But since I believe there are a lot of similarities to the way I interact with images and Latin American literature, I have been re-reading books written by these authors in the last years and I've been trying to analyze them from another perspective. I mean from a story-telling perspective: how to handle the characters, how to show or describe surroundings and moods; how to invite the viewer deeply into the story.

我是一個注重視覺的人，所以當時我并不覺得這些文字的東西有什么迷人之處。但當我開始發覺影像和拉美文學之間的相似之處，去年我重新拾起了這些書，我試圖用新的觀點來分析他們。從敘事的角度出發，理解文學作品如何塑造人物形象，刻畫人物內心；如何引導讀者深入故事內在。


I've found a intense tendency in your work to show the natural state of your subject, is that the name "As they Are" comes from? How do you get into this kind of style.

我覺得你的作品十分傾向于去表達被攝對象的自然狀態，這是本次展覽名字彼處人生的由來嗎？你如何形成這樣的風格？

Well the process is rather a straightforward one, most of my images are staged, kind of set-ups of the everyday, of the familiar and the ordinary. Most of the time, I make an appointment with my subject, shoot several rolls of a specific image or situation that I want to explore. Generally speaking, I'm interested in my subjects’ sense of vulnerability. I feel that it is something that is alive in a lot of people, and in order to get them into a state of embracing this feeling in front of the camera, we have to go trough an up-building process of trust and confidence. But to be completely honest with you, I don't have a fixed method I repeat every time I shoot, since I have to approach different people in different ways, and with time, this process gets really intuitive. Now I'm actually more interested in when to stop shooting!

這是一種自然而然形成的表現形式，我的大部分作品都是擺拍的，日復一日的生活構成了這些照片的場景。大部分時候聯系好拍攝對象后，我會就我感興趣的一個影像或情景反復拍攝。籠統的說，我喜歡表現我被攝對象脆弱的一面。我想每個人都有自己脆弱的一面，為了讓他們進入狀態在相機前展現這一面，我們需要進行很多的溝通建立相互之間的信任關系。坦白的說，我每次拍攝時并沒有既定的條條框框，而是跟著感覺走，依天時地利達到最終的人和。事實上我現在更希望知道我應該何時停止拍攝。

You've mentioned truth, lies, everyday life and staged life. How do you tell them apart? How do you get to know your subject's living, and how do you ask they to act as they are?

你提到了真實和謊言，現實與擺拍。你如何將他們區別開來？你如何了解你對象的真實生活，讓他們在鏡頭中展現他們的彼處人生？.



Well I will definitely not tell them to act as they are! As a result I would have a picture of someone trying really hard to act normal...

我并沒有要求他們展現自己的生活，我只是想要讓他們表現的盡可能正常。

Truth in photography can be really trivial since it's one of the closest reproductions of reality.
I rather see photography as an expression of a mental process, that being said, all I can do with my images is suggest. I can suggest what might it be to experience a narrative about Identity, as I did with "Conditions", for example.

真實這個概念對于攝影來說并沒有必要過度強調，攝影本來就是最接近真實的再現手段之一。我更愿意把攝影視作一種表現內心活動的手段，或者說這是我的作品唯一能做到的。例如說讓人們以視覺化敘事來體驗身份的概念，這就是我在作品“狀態”中想要表現的。

I don't look for truth with photography, but I strongly believe in the messages I try to convey with my images. When I'm photographing someone rather than trying to show who this person really is, I try to create an intimate atmosphere where the viewer is invited to reconsider new aspects that he normally wouldn't.

我并非以攝影來尋找真實，但我堅信我以影像所試圖傳遞的信息。我在拍攝一個人的時候我并非想要表現這個人的真實一面，而是想要創造一種曖昧的氛圍誘使觀眾思考他通常所不能表現出的一面。

Where do the images in the show in kunst.licht named “As they Are” come from, it's not included in your existing project.

在鯤鯉國際影廊的展覽《彼處人生》包含了哪些作品？這并不是你已有的攝影項目。

"As they are" is a compilation of two of my series, "Zapallal|Yurinaki" and "Conditions" but the gallery was in charge of the presentation and edit...

彼處人生是薩帕亞爾與尤利納奇和狀態兩組作品的綜合，但是由畫廊決定作品的布置和編輯。

As I know, most photographer don't like others to pick up images for personal exhibition. How do you see that? Will you feel uncomfortable about this? If their editing failed you, will you keep silence or tell them your idea?

就我所知，很少有攝影師愿意他人插手決定自己個展中的作品。你怎么看待這個問題？你是否會因此感到不適？如果他們挑選的作品讓你不滿，你會保持沉默還是實話實說？

It's a very tricky question, I think that if someone would like to make a show with (some) of my images, they already are informed what my work is about. There has to be a good communication between the photographer and the Gallery, but the photographer has to be aware what kind of show is the one he is taking part of.

這個問題很難回答，我想如果有人愿意展出我的作品，那么他們至少首先應該了解我的作品。攝影師和畫廊之間應該有一個良好的溝通，攝影師也應該了解自己所參加展出的性質。

There are shows where a photographer is invited to take (almost) 100% of the decisions regarding the presentation on the wall, and there are other shows, where the curator and Gallery team have a vision and would like to invite you and your images to communicate a certain idea. I feel comfortable with both of these approaches as long as there is good communication but if I notice some misunderstandings I definitely try to clarify things.

有些展出攝影師基本能完全決定掛在墻上的每一幅作品，但有些展出策展人和畫廊團隊有自己的預想，他們邀請你是為了用你的影像來傳遞這種理念。只要溝通得當，我覺得兩種情況我都能接受。但如果我覺得大家之間出現溝通問題，顯然我會盡量把問題說清楚。

You've mentioned workshop in Shanghai, is workshop another important way of your style? What's your workshop alike?

你提到希望在上海展出的同時舉辦一次研討會，研討會是你風格中另外一種很重要的部分嗎？這是一次什么樣的研討會？

My work deals with norms of behavior in their cultural and social context. Interacting with people is one of my motivations! That's why giving a workshop can be very exciting for me; I can't only review others people's work, something which I have to do in order to understand their approach to photography. But the workshop gets really interesting when we start working as a group and channeling our creativity and knowledge in the same direction, depending on the aims of the work that is to be presented. It would be great to get enough people interested in the workshop in Shanghai! If we make this happen, the workshop will have a theoretical and technical side, a part of the workshop will be about external lightning and staged photography.

我的作品著力于人們在特定文化社會背景下所表現的行為規范，和不同人打交道是我的最大興趣之一。這就是研討會讓我興奮的地方。我不僅僅是評價人們的作品，我還想要去了解他們對攝影的看法。當我們把自己看做一個團隊，朝著共同方向溝通我們的靈感與知識，研討會才真正變得有意義。我很希望上海的這次研討會能吸引更多人的興趣。如果可以的話，我會將一些攝影理論和隸屬方面的東西，會談到人造光源的運用以及攝影擺拍。

I conjectured that it would be a workshop about communication, because I've seen a lot of that in your portfolio, but you also mentioned technical side. How do you see technology in photography? Is this an important part for you?

我在你的作品中看到了很多的溝通與交流，所以我猜想這會是一次關于溝通的教學交流。但是你剛才也提到了技術層面的問題，那么你如何看待攝影中的技術？這對你來說重要嗎？

Well, technology is really not that important for me...the results are what I'm interested in. However, I do think it is important to take consequent decisions regarding the technology (cameras/lenses - digital/analog) you use to develop a project.

事實上技術對我并沒有那么重要，我關心的是結果。但我覺得你在項目推進以前必須首先考慮好技術因素，例如說所需要的相機及鏡頭、拍攝數碼還是膠片等等，這些確實很重要。

Money is a big issue in photography, it can get really expensive to develop a project, print it, frame it and (maybe) create a book out of it. (And here we are not taking into consideration all the money you’ve already invested in equipment.)

錢對于攝影來說是個大問題，先不提在器材上所需的投資吧，拍攝要花錢、輸出作品要花錢、裝裱要花錢，如果你計劃出書還得要花錢。

But don't just start shooting digital because you want to save money, and don't present only big prints in a show because you happened to have the money to do so. Every picture has its size, it can be small or big, but I strongly recommend NOT to take these decisions depending on how big or small your income is.... It can be a really long and painful process but it is important that at the end the results (the images and the presentation on the wall) reflect your intentions and ideas behind the project.

但是不要為了省錢就去拍數碼，不要因為你有很多錢就把照片做得很大。所有照片都有適合自己的尺寸，有的大有的小，但這并不是由你荷包的尺寸決定。這是一個蠻長而痛苦的過程，但只有這樣才能最終結果(懸掛在墻上的影像)反映出你項目背后的意圖。

But as the galleries push the images bigger and bigger, how could you keep conscientious about this problem? How do you decide your works size?

但畫廊正推動著攝影作品向著更大的趨勢發展，在這種情況下你如何警醒的面對這一問題？你是怎么樣確定自己作品尺寸的？ 

The Gallery shouldn't push the images...they photographer/artist should do it.

作品尺寸不應該由畫廊決定，而是由攝影師或藝術家決定。

There are even photographers who have 3 different sizes for one picture...I really don't quite understand that. Well, I do understand that, but only from a marketing point of view. It seems that people start playing with several sizes just to attract more potential buyers, but that's not the point of doing a photographic project. Selling is important, since we all have to cover our expenses, but on the other hand, I have colleagues that are starting to shoot landscapes just because portraits don't sell that well, that is just ridiculous. 

有些攝影師甚至一幅作品會制作三個不同尺寸的版本，我很不理解這是為什么。當然，從市場角度來說我還是能理解他們的。也許他們覺得不同尺寸的作品能夠吸引更多的潛在買家，但這并非做攝影項目應有的態度。作品銷售確實很重要，因為我們都要靠這過活；但當我眼看著一個個同行們就因為人像作品不好賣就開始改行拍風光，我感到十分可笑。

When I start thinking about a size for my images, I try to look back on the ideas behind the project. That's why every project has his size.

我在確定自己作品尺寸之前，首先會考慮這組作品背后的理念，所以我的每組作品都有屬于自己的尺寸。 
For the series "Zapallal|Yurinaki" I was interested in social development within the slums in Perú and the similarities with the life in the countryside. Every single element and the characteristics of those surroundings was relevant, that's why the print size is pretty large (at least in my standards!- 120cm wide)."Conditions" was printed in three different sizes. That allows me to present the work more poetically, I wanted to mark some accents on the wall, no beginning nor end, just create spaces within a space where the viewer has to take his own decisions regarding his approach towards the work. "Conditions" is about that, about making decisions, about ones we might or might not have taken, about claiming a stake.

對于薩帕亞爾與尤利納奇這組作品來說，我首先感興趣的是秘魯貧民區的發展狀況及其與鄉村生活之間的相似之處。照片中的每一點元素都有自己的特點，都與環境相關，所以我必須把照片做到很大。一米二寬對于我來說真的很大。而狀態這組作品有三個完全不同的尺寸，這樣做能以更加詩意的方式呈現我的作品。我希望作品能在墻上表現出平仄韻律而不是開始或結尾，空間與空間之間的空隙讓觀眾有余地選擇觀看作品的方式。這正是狀態這組作品想要表現的，關于決策，關于我們害怕做出的決策，關于我們勇敢做出的決策。